No. 1 is from the pianoforte sonata, op. 10, No. 3, second movement; see the original. This phrase exhibits an ending, unmistakably, in the fifth measure, and not in the fourth. Its form is therefore irregular.

In No. 2 (from the first pianoforte sonata), the first phrase ends with the fourth measure, obviously, for the evidence of a new "beginning" in the following measure is perfectly clear; the phrase is therefore regular. But the next phrase runs on to the sixth measure from this point (the tenth from the beginning of the whole), because there is no earlier evidence of an "ending." Observe that the first phrase has a preliminary quarter-note, the second phrase none. Turning to Mendelssohn's Songs Without Words, the very first (introductory) phrase of No. 3 is five measures in length; the first one in No. 35 also contains five measures; the first one in No. 16, and in No. 9, contains three measures. The irregular phrase will be again considered (in a different aspect) in a later chapter.

The recognition of these syntactic traits of the melodic sentence is of great moment to the player, for they constitute the information upon which conscious, intelligent, effective phrasing depends; and without intelligent phrasing, without a clear exposition of the formation and arrangement of the members and phrases, full comprehension and adequate enjoyment of a musical composition is impossible.

CONTENTS OF THE PHRASE.—The question may arise, what is it that makes a phrase,—the rhythm, harmony, or melody? Strictly speaking, all three; for music subsists in the ceaseless co-operation of these three primary elements of composition, and no phrase is wholly complete without the evidence of each and all. Generalizing the definitions already given, the function of each of these primary elements may be thus described: The element of harmony regulates the choice of the tones that are to sound together; the upright shafts of tone (chords) which determine the body, or framework, of the music. The element of melody regulates the choice of single tones, selected from the successive shafts of harmony, that are to form a connected line or strand of tones (in horizontal order, so to speak),—something like a chain or chains stretched from harmonic post to post, which describe the figure or outline of the musical image. The element of rhythm gives the whole body its life,—regulates the choice of varying lengths, defining the infinitely varied "tapping" of the musical mechanism.

It is evident, from this, that no vivid, satisfying musical impression can be created in the absence of any one of these essential elements. But, for all that, they are not of equal importance; and, in determining the extremities of the phrase (and of all other factors of musical structure), the melody takes precedence over harmony and rhythm. That is to say, that in his analysis of figures, motives, phrases, periods, and so forth, the student's attention should be centered upon the melody,—that chain of successive single tones which, as repeatedly stated, usually describes the uppermost line of the harmonic and rhythmic body. That is the reason why the illustrations given in this book are so frequently limited to the melody alone; it is the pencil point which traces the design, describes the form, of the musical composition.

LESSON 4.—Procure the Jugend Album, op. 68, of Schumann, and mark the phrases in Nos. 1, 2, 4, 5, 6, 7, 8, 9, 13, 18, 20, and others. In the given numbers the phrases are all regular,—four measures in length.

Analyze in the same manner Mendelssohn's Songs Without Words, Nos. 27, 22 (first phrase, five measures), 48, 28, 35, and others; occasional irregularities may be encountered.

Also Beethoven, pianoforte sonata; op. 14, No. 2, second movement (C major, andante); and op. 26, first movement.

A few cautious experiments may also be made in analyzing any composition which the student may chance to be studying, especially if not too elaborate. The necessary safeguard consists in simply passing over every confusing point, limiting the analysis to those phrases that are self defining, for the present,—until greater experience and fuller information shall have been gained.